It is a film with a neat narrative structure, and there are fewer surprises. The underworld is really interesting. Adults start to mess around when they go out of society, and all walks of life are for the sake of eating. All walks of life also have their own rules of practice, some are transparent, some are hidden. The working rules of the underworld are based on human nature. They talk about brotherhood and family love. They rely on their fists to eat, and they make fists to the flesh, and they are not happy. Is it ridiculous that the industry with the most unruly rules is a place where people are required to talk about the highest standards and requirements? It is destined to be impossible to live by messing around, relying on brotherhood, and relying on the kindness of the elder brother. This kind of thing is as precious as a sunflower in the chaotic black world. In a chaotic world, violent conflict is a daily method. When the fight starts, everyone rolls in a mud pond and cannot be recognized. Bestiality is maximized, there is no reason. Bingdou is a contradictory person. In the quagmire, he still yearns for sunflowers, beautiful love, and pure friendship. The world is so lucky to have it, not to mention the underworld. Chaos' rules were not followed, and Xiangyang's request could not be reached, and he had to be torn apart in the end. However, Bingdou's death is still very sad, because before Chaos, he was also a sunshine boy. Why do some people's roads get darker and darker, and they can't reach dawn? Finally, I have recently brushed a lot of Zhao Yincheng's works. Judging from the timeline, this one should be his touch on the side of acting. With edges and corners, and a hint of youthful Ouba, the charm is endless.
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